The first day that I ever set foot in the Ford Models New York offices, my agents told me my face was meant for a Chanel Beauty job. Wisely, I remained skeptical. My career unfolded and Chanel Beauty never called. Until December 2017. To my amazement, in my fourth year of modeling I booked a Chanel Beauty shoot, and flew to Paris for it just before the holidays. This was one of the most exciting days of my modeling life. Thank you to my favorite Nicolas Kantor who photographed this and cast me, to Laurent Phillipon for knowing my unruly hair of old and taming it well, and to Sharon Dowsett for doing my makeup looks and teaching me patiently how to do them myself so I could demonstrate the looks on video. Thank you also to my great team at Ford Paris for bringing this opportunity to me <3
My first job of 2018 began on a Tuesday evening. On January 2nd, I flew to Vancouver, Canada, to shoot for the massive Canadian brand Aritzia, who contrives to design for seven or eight "sub-brands" within itself, each with a distinct flavor and clientele. Over three days in an underground studio in their large and modern headquarters by the harbor I shot for a few of their "brands." I spent the nights in a beautiful hotel in the center of the city of Vancouver, with a deep tub and a velvet sofa, and this was perhaps my favorite part.
My second trip to White Sands, New Mexico, was by coincidence two weeks after my first, for Bloomingdales. This was an equally astounding trip, and the team was eclectic and so much fun to get to know. Some characters from my career I will never forget, and one of them is photographer Elizaveta Porodina. Thank you to everyone involved who made this shoot experimental and liberating and rewarding. Art direction by Jonathan Cassidy, stying by Jessica dos Remedios, make up by Anastasia Durasova, hair by Denis DeVoy.
My first trip to White Sands, New Mexico, was for the brand Ulla Johson, who makes beautiful etherial feminine clothes in New York. Barring the hair stylist (Ashley Javier), the team was entirely female: designed (Ulla), styled (April Hughes), photographed (Yelena Yemchuk), made up (Romy Soleimani) , produced (Tali Magal) by women from all over the world. It was an honor to work with this brand after eyeing their collections for quite some time. Read about some of my experiences from this shoot here.
On Saint Nicholas this past December I flew to Miami. There is no longer the brilliant joy to this holiday that there was in childhood (the joy, that is, of waking to find chocolate in your shoe) but we keep it up for memory's sake. Mostly because I am incurably nostalgic. In Miami I shot my second story for Elle, this one appearing in the Italian edition of the magazine, lensed by Michael Sanders. Beautiful makeup by Jodie Boland and hair that makes my head look square by the most entertaining Leon Gorman. Fashion direction by Charlotte Deffe and Styling by Bennedetta Dell'Orto. Thank you all!
One day in November I spent thirteen hours in a well known contemporary painter's apartment. I was shooting digital content for the jewelry brand David Yurman, a long dream of mine to work for. The apartment doubled as a stunning living space and light-flooded workshop, I was surrounded by art paraphanalia, I was working for the jewelry brand I admired, I was content.
In November I flew back to LA for the ethical denim brand Citizens of Humanity. It was another lovely sunny day there in their airy headquarters/factory on the outskirts of town. Read about their mission of producing garments entirely in the US and offering decent wages to their laborers here.
My family goes on vacation every August to a lake in Connecticut, usually for the first week of the month. We drive up in a car loaded with books and towels and costumes for our photoshoots, and, every year, our turtle Marina who is too high maintenance a pet to be left in anyone else's hands. This year, however, I was not in this car, because the first day of our vacation I was booked by Nordstrom for their December catalogue shooting in Milk Studios, and couldn't very well deny one of my best and most loyal clients. The shoot ended up being fun and sufficiently worth missing Day One of lake life, for on set I met an old friend from my first months of modeling back in my junior year of high school. Shooting with Emma Waldo once more was a happy coincidence, and that night I was Connecticut bound, gleefully racing through the night. Thank you Nordstrom!
On a mild October morning I stepped hungry into a trailer on Elizabeth Street, near New York's Chinatown. It was warm enough that I could stand outside in the dappled morning sunlight while I waited for the crew to set up the catered breakfast—I’d been up since dawn, commuting down from my Rockland County home, and the fruits and cereal being spread out on a sliver of counter in the motor home looked inviting. That day I was shooting my first ever story for Elle, a mainstream American fashion magazine that I grew up with a subscription to. Having received it each month in my mail box on my street in my world in Rockland County, and coveted the diversion its pages offered, it was surreal and delightful to be creating the pages, embodying the visions, of this magazine myself. Photography by the great David Bellemere, Styling by Samira Nasr, Hair by Brian Buenaventura, Makeup by Serge Hodonou, Art direction by Charlotte Deffe. Thank you so so so much to all!
In 2014, when I was a High School junior and wispy sixteen year old, I worked for a brand called Vince: it was my third modeling job and my first overnight in the Ford model apartments in New York City. It was actually a rather turbulent two days: I was alone and so agonizingly shy that the attention funneled at me while on set brought me, each morning and always surreptitiously, to tears. This fall, three and a half years later, I returned to Vince for a few days to shoot their pre-fall web content. This time the shoot was in Bushwick. This time I spent the night(s) with a former classmate, from that very same high school, who now has a midtown apartment, and this time I knew the ropes of my profession and felt no more out of place on set than anyone lending their body to a group of creative and marketing-minded strangers necessarily feels. Indeed, not all of the people on set this time were strangers—both of the in-house photographers had shot me when I was that wispy new face, when we were in a Manhattan office and I was acutely disoriented. So I very much enjoyed the days I spent at Vince for this job, and the friends I made there and the collection we shot, a few pieces of which I already have my eye on. I very much enjoyed completing a full circle of sorts, in a superficial industry so unconducive to symmetry and resolution of a personal nature. I enjoyed, ultimately, the linking of past with present, and the evidence, logical but somehow surprising still, that I grew up in the interim.
One September morning this fall I was surprised that the beach was cold. It was a warm, end-of-summer week with blue skies and searing sun, but the wind on Silverpoint Beach on Long Island was biting. I was there, at six in the morning, for a shoot for Allure Magazine's December issue. I spent the day wearing pastel robes, frills, silks, and oh so much sand, running and doing backbends and squinting into the blinding light. The team was fantastic, the artistic approach was liberating and, at last, it warmed up. Shot by Yelena Yemchuk, Styled by Zara Zachrisson, Hair by Tamas Tuzes, Makeup by Susie Bol. Thank you all so so much!
24 hours in LA this summer produced this denim lookbook for the ethical American jeans brand Citizens of Humanity. I shot in the company's headquarters just on the outskirts of Hollywood, at their bustling warehouse and factory where to reach the photo studio I had to walk through hundreds of men and women on assembling and tagging and inventorying boxes on boxes of bluejeans. It was exciting to see the creation of garments actually occurring within our country and occurring by virtue of proper wages rather than exploitation. Thanks CoH!
This past July I spent two days in a mobile home under the Brooklyn Bridge--with a rather famous (and infamous) photographer and a closet stuffed with every coat and sweater of the latest collections. They were rainy days, and the layers were appreciated in the clammy breeze coming off the East River. I was shooting a Fall story for Italian Marie Claire, and the team was one of the most kind and familial of any I've worked with so far. I genuinely enjoyed collaborating with them to enhance their work (makeup, hair, styling), and it was one of the most physically strenuous shoots I can recall delivering. I was constantly in motion: running down streets, hopping onto and off rocks, balancing on railings, doing backbends and splits and squats in a dance-like hunt for the perfect pose. By sundown of the second day my hamstrings were sore and my elbows bruised, but I'd done my job thoroughly: our shoot was selected for one of the September covers of the magazine. Photography: David Bellemere, Styling: Elisabetta Massari, Hair: Benoit Moeyaert, Makeup: Dheanna Hagan. Thank you infinitely!!
Described by iD magazine as "feminine, mischievous, bold and irreverent," Hermés' new perfume, called Twilly d'Hermés, is made with sandalwood, tuberose and ginger. It's campaign image was shot in Paris by Liz Collins; its video ad was filmed in Thailand, on a set of Paris, and directed by the sweetest Arnaud Uttyenhove. Creative direction by Fabien Mouillard, hair by Laurent Phillipon, Makeup by Stephanie Kunz, styling by Elodie David, choreography by Jennifer White for Sidi Larbi Cherkaoui. My fantastic fellow models for the video were Sofia Tesmenitskaya, Peyton Knight, Ivanka Smilenko, Ellen de Weer, Liah O'Prey, Cai Lee, and Marine Gaudin. This was truly a stunning team and I can't express my gratitude aptly. I am humbled beyond words, Hermés!
Theory S/S 2017 shot by the brilliant Lena Emery, styled by Naomi Miller, alongside model Ally Ertel. Thank you all!
Wearing sweaters in the sun on an unseasonably hot April afternoon is always a challenge. But for this shoot on the roof (and inside) of a spacious Bushwick apartment the sun was a necessary evil, and made all the more bearable by the fact that I was surrounded by a team of friends I had shot with only a few months before. Plus, there were kittens... Rebecca Taylor "La Vie" lookbook, shot by Kava Gorna. Thank you sweet people for having me again!
I've always admired Zara's online imagery. Everyone has: I've been on high-fashion jobs who's moodboards and hair & makeup reference sheets are riddled with screengrabs of Zara e-com. Somehow, Zara has engineered a radical, desirable, immaculate brand characterized by rich lighting, elongated photograph angles, artsy crops, inventive garment styling, and, most interesting to me, distinct models. Thus this affordable "fast fashion" label has, rather improbably, become an arbiter of taste not only in the fashion industry but in the modeling realm as well. And so I was thrilled in the end of July to fly to Spain to shoot for them--for a whole week. The days were long and relentless, with near-infinite racks of merchandise to photograph and a single break in which to rest my feet. Exhausted and sleep-deprived at the end of the week, I returned home having learned that Zara e-com, like most things in life, is a lot less glamorous behind the scenes than it may initially appear, but oh was I thrilled to have been to the locus of one of my favorite brands, and to have seen the magic in action.